This study examines the development of Edward Larrabee Barnes's design concepts for the Dallas Museum of Art, from preliminary concepts and program statements by Director Harry Parker and Dallas Museum trustees, through initial planning and architect selection, to site selection, the Program and Space Study, Barnes's early conceptual plans, and his Dallas Arts District master planning. Influences on Barnes's work and his career development leading to the Dallas commission, his most ambitious museum to date, are examined. Discussion and documentation of design development is based on schematic studies, presentation drawings, models, and trustees' minutes. Design changes during construction and all phases of expansion planning are also discussed. The conclusion summarizes historical influences on the design and Barnes's fulfillment of program concepts.

My concerns relate to the process of imagery development and the process of utilizing suitable materials to execute my work. These concerns are dictated by the themes in a particular piece and revolve around an acute sense of loss. These themes are frequently presented with humor.

At the time of writing the proposal, one part of me wanted to move ahead and explore the new territory, while another part wanted to understand what I was leaving behind. I proposed to examine the following questions in order to resolve this dilemma: 1. What common personal themes or ideas are behind my work? How can I clarify and refine these themes to make them more manifest in my work? 2. Do I need to investigate new materials in order to express and explore my concerns? 3. Can I form a relation between my use of imagery and materials? Could new materials or objects replace this imagery? 4. Are new formal strategies needed that would link the use of my materials, objects, and imagery?

This study investigates the liturgical attire of the Church of England from the seventeenth through the nineteenth century, by studying the major Anglican vestments, observing modifications and omissions in the garments and their uses, and researching the reasons for any changes. Using the various Anglican Prayer Books and the monarchial time periods as a guide, the progressive usages and styles of English liturgical attire are traced chronologically within the political, social and religious environments of each era. By examining extant originals in England, artistic representations, and ancient documentation, this thesis presents the religious symbolism, as well as the artistic and historical importance, of vestments within the Church of England from its foundation to the twentieth century.

This thesis investigates how the visual arts philosophy promulgated in the 1960s by the Second Vatican Council of Roman Catholic Churches is manifested by commissioned artists for a particular parish. The primary data were the new sanctuary and the artworks, which include stained glass by Lyle Novinski, a carved-glass Marian Shrine by Claire Wing, bronze Stations of the Cross by Heri Bartscht, and wooden medallions depicting two saints carved by Don Schol. This paper reviews pertinent ecclesiastical doctrines along with interpretational publications, physically and iconographically describes the sanctuary and artwork, and considers aspects of the relationship between patron churches and the artists they commission.

This study seeks to explore relationships between Logo turtle graphics and visual literacy by addressing two related questions: (a) can traditional visual literacy concepts, as found in the published literature, be synthesized in terms of Logo turtle graphics, and (b) do the literature and "hands-on" experience with turtle graphics indicate that visual competencies are pertinent to graphics-based electronic communications in computer culture? The findings of this research illustrate that Logo turtle graphics is a self-contained model to teach visual literacy skills pertinent to computer culture. This model is drawn from synthesizing published literature and the classroom experience of Logo learners, which is demonstrated through their visual solutions to Logo assignments. A visual analysis and interpretation of the subjects' work concludes that the principles and competencies associated with traditional visual literacy skills manifest during the Logo turtle graphics experience. The subjects of this study demonstrate that visual literacy pertinent to computer culture includes reading, writing, and drawing alphanumerics and pictographic information with linguistic equivalence. The logic for this symbolic metaphor is body-syntonic spatial experience explained in geometric terms. The Logo learner employs computational models for visual ideas and visual-verbal symbols for spatial ideas in the course of doing turtle graphics.

The idea of using the computer as a design tool seemed ideal for my sculpture. The simplicity of my sculptures and their repeating elements are easily rendered by computer technology. The computer allowed me to perceive my designs accurately from different perspectives. My hand-rendered designs, by contrast, were difficult to read, especially from multiple views. The computer sharpened my designs, while showing me the different views in less time. Although the designs were computer assisted, I commanded all of the manipulations. This procedure is different from computer-generated design, in which the computer is programmed to do the designing itself. My investigation of the computer as a design tool answered several questions.

This study involves an investigation of artist's intent (purpose) and the effects of altering the dimensional structure of a print utilizing the materials as imagery. Concerning the nature of the creative project, The following questions arose: 1. How will changing my current two-dimensional format to a three-dimensional presentation produce the desired intensity of physical, emotional, mental and spiritual depth? 2. What kinds of materials can be combined to effectively produce the desired imagery? 3. What technical problems arise in regard to a supporting armature in the three dimensional structures? 4. How is the artist's intent communicated through the imagery created in the three-dimensional structures?

In order to discover more about the nature of my work, I conducted an investigation of the evolution of symbols generated in a body of work. For the purpose of this study the term symbol was defined as something that represents the term symbol was defined as something that represents another entity by association, resemblance, or convention, specifically, a material object or image used to represent an idea.

As much as I like the effects of low-fire salting, I hesitate to use salt. The hydrochloric acid released into the environment during the salting process creates a dense fog that is not only toxic, but visually offensive as well. Therefore, the purpose of this study was to find a source of sodium that would achieve aesthetic results as equally exciting as the effects of salt.

After practicing Interior Design professionally for ten years and concurrently watching the rapid expansion of the use of computers in the business world, the problem of incorporating the use of computers into the field of interior design became increasingly important to me. Many designers seem to be rather leery of "the computer" and they are reluctant to accept it as a valuable tool in their design process. One aspect of applying the use of the computer to the interior design field is in the area of pattern generation for fabrics and wallcoverings. It is this area that will be explored in the following project.

This research surveys ideology and iconology in the presentation of the autobiographical and biographical female nude as envisioned by American women artists in the painting, drawing and printmaking media from 1969 to 1983. Contemporary dialogue by critics, artists and feminists on the definition of feminine content led to the articulation of the undraped nude torso as the central icon of the study. This static icon was pushed through a variety of styles into multi subtleties of iconology. The female nude by women artists is autobiographical even in biography emphasizing self-identification and authenticity. General constraints were placed on the survey the definability or explicit articulation of the female torso as opposed to suggestive imagery, the time frame in which the nude was created, and the chosen media for study. Art historical methodology was employed to descriptively examine image and intent of the nude presentations in references through time as well as visual traditions of symbology. This survey began at the turn of the century for historical background to emphasize the greater proliferation of the nude from 1969 to 1983. There were limitations specifically associated with the earlier time frame (1900-1969)--the lack of art educational opportunities for the female student, the socio-political …

The unique nature of this process raised major technical questions that I intended to address during this project. The purpose was to obtain a quality surface, considering both visual and textural considerations, while using the copper matt finish.

The focus of this creative project was the production and presentation of electronic imagery generated by personal computers and peripherals. By it's nature, electronic imagery is dependent on light. I proposed that the exhibition project would include computer graphics images presented in a variety of formats, both static and moving.

The intent of this study was to construct a group of forty wheel-thrown vessels, comprised of four forms, in series of ten. The surface of these pots was to be enriched through the use of various materials and techniques. These included slip trailing, brushed slip, glaze and over glaze colorants. The decorative theme I pursued was based on abstract floral images. I admire both the ordered structure of plant forms and the slightly imperfect symmetry contained within their various parts. I have attempted to express their gestural quality and delicate nature in my surface decoration.

In developing the ideas for this project, one of the major questions to be addressed was how well this method of combining prints, drawings and jewelry into a single collage would contribute to expressing the themes of intimacy and secretiveness already present in the individual pieces. It seemed that surrounding the jewelry with an environment that shared and repeated the private qualities of these objects would increase the intimacy of the work.

The purpose of this study was to determine whether The Large Glass was a negation of women for Marcel Duchamp. The thesis is composed of five chapters. Chapter I is the introduction to the thesis. CHapter II includes a synopsis of the major interpretations of The Large Glass. Duchamp's statements in regard to The Large Glass are also included in Chapter II. Chapter III explains how The Large Glass works through the use of Duchamp's notes. Chapter IV investigates Duchamp's negation of women statement in several ways. His personal relationships with relatives including his wives and other women, and his early paintings of women were examined. His idea of indifference was seen within the context of the Dandy and his alter ego, Rrose Selavy as a Femme Fatale. His machine paintings are also seen as a part of his idea of detachment and negation of women. Detachment as an intellectual pursuit was probed with his life-long interest in chess. The Large Glass was then seen as not only showing inconographically a negation of women but also as being an intrinsic component of his life and his work.

This study explored how implied texture was used to give meaning to figural imagery. Several questions were answered in proceeding with the creative project: 1. Did implied texture abstract the figurative image? If so, how was content affected? 2. Did implied texture act as an obstruction to content? 3. Did implied texture act as an integral part of content? 4. Did implied texture exist as a separate entity from content?

I perceived humans as a certain size, approximately five feet to six feet tall. This reality compelled me to do full length, life size, and larger portraits of my body again overlaid with the lizard's body. The study involved an investigation of self portraits and the effects scale had on their intimacy.

The purpose of the study was to determine a definitive description of "artistic giftedness." A questionnaire was sent to Texas art teachers to find what characteristics they attribute to the artistically gifted, how they determine this, and what program goals they set. The wide variety of survey responses indicates the diversity of artistically gifted individuals. The high rating on all items indicates that all could be used as identifiers (higher rated characteristics identifying a larger population, lower rated ones, a smaller population). Responses to items dealing with identification indicate nontest methods to be most widely used. No connection was found between goals chosen and either characteristics or methods.

The source and development of the shelter as a personal symbol in my work has been explored in a body of work consisting of twelve pieces. The approximate size of these objects is 10" X 14" X 18". I plan to address the following questions during the review of this body of work. 1. What part do architectural sources play in the development of the shelter symbol? 2. What part do cultural and anthropological sources play in the development of the shelter symbol? 3. How does surface embellishment affect the shelter symbol? 4. How does the size affect the shelter symbol?

This study examines the county courthouses of Arkansas with the purpose of discovering certain qualities which they possess as architecture. Stylistic influences are identified, as are influential architects, periods of building activity, and characteristics of age and condition. An historical overview provides information concerning nationwide trends in public architecture over the last century, allowing observations as to the effects which national and regional tastes had on Arkansas' county courthouse builders. It is concluded that Arkansas' county courthouses reflect, to some extent, the stylistic preferences and backwardness of southern and rural courthouses, respectively. The Georgian Revival is identified as the most popular style for courthouses still in use, although the most active building period is found to be the 1930s, when WPA design specifications dominated Arkansas courthouse architecture.

My work dealt with the life within inanimate objects and what occurred when one placed apparently unrelated objects together in an arrangement. The arrangements had three interrelated elements: the objects, spacial relationships, and materials.

The purpose of this project was to develop a body of work in which the content has probable, if not definite, cross-cultural application. It was my intent to analyze images for their content and underlying themes. This collection of "image content" was to be used in the production of a body of work which hopefully would transcend cultural bias or limitations. I consulted art and anthropological texts, books, and periodicals (listed in bibliography) which contained images produced by different cultures.